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BALL TO BALL 
BILLIARDS 



Copyright 1911 

by 

■WILLIAM A. SPINKS C^ CO. 

Chicago 



)CLA283622 





CHAPTER 


Tools 


I 


Position 


. II 


Stroke . . . . , 


III 


English .... 


. IV 


Follow 


V 


Draw 


. VI 


Masse . . . 


VII 


Control of Object Balls . 


VIII 



PREFACE. 

THIS little book was written with the hope that 
it would help the amateur player to get a lit- 
tle better knowledge of the action of the ball 
in "English," "Follow," "Draw" and "Masse." 

Ball to ball billiards is the secret of big runs and the 
action of the ball is the foundation of billiard playing. 

No shots will be illustrated in this book except such 
as are used to explain the action of the ball. 

This book is not a record of champions or cham- 
pionships. Neither is it a useless lot of diagrams of 
shots, because if you cannot learn to play billiards with 
your cue in your hand, no book ever written, even by 
the greatest experts, will teach you the game of bil- 
liards. 

In the following pages I shall tell you a lot of things 
that you know or may have a hazy idea about, but the 
reminder will help fix the point in your mind. All I 
hope for is to help you think it out for yourself, be- 
cause it is your thinking, not mine, that combined with 
practice, will enable you to play better billiards. 

"Bill Yards." 



CHAPTER I. 
TOOLS. 

BILLIARD cues have been improved from time 
to time and are now made with less ornament 
but of better material and better workmanship. 
The ebony point section now used, makes a cue of 
greater rigidity and also makes a better balanced cue 
now that cues are made heavier than formerly. 

Cues now average from 17 to 22 ounces, about fif- 
teen years ago they averaged between 15 and 19 ounces. 
These heavier cues enable the majority of players to 
accomplish better results with less muscular effort and 
have improved their stroke as the w^eight of the cue 
does the work. 

The cue and the tip are the most important tools 
and should be selected with care, because the player 
must depend on these to control the cue ball. 

Most Room Owners have a large number of good 
cues to select from and they try to keep them well 
tipped. Spinks' Self-sticker Tips are a great labor saver 
and do aw^ay with the nuisance of glue. 

The selection of a cue will depend on the individual, 
but should be heavy rather than light. 

The build of the player will determine to some extent 



the length of the cue. A short man should not select 
a long cue because it will interfere with a proper 
swing, and yet he needs as long a cue as possible in 
order to reach shots that are far away from the edge 
of the table. However there is not much difference 
between the longest and the shortest cues, never more 
than about 4 inches. Of course, a cue should be 
straight. Twine wrapped butts are much used and 
afford a very satisfactory grip. 

The quality of the chalk is of greater importance 
than any of the other tools of the game, and the words 
of the "Wizard of Billiards," the late Jacob Schaefer; 
"I believe your chalk has done more to improve bil- 
liards than anything else in my time," is evidence that 
Spinks' chalk has more than any other chalk the quality 
most desired by the best billiard players. 

The balls, the cloth and the table are the same for 
both players and most Room Owners try to keep their 
tables in shape for first-class play. 

Cue tips made of leather, 'Trocede," as the French 
call them, were made only in France for many years, 
the secret of their manufacture being handed down 
from father to son. 

A good cue tip is of the utmost importance to the 
player because no matter what skill a player may have, 
he must impart that skill to the cue ball by the tip. 

There have been many fads and fashions in the size 
and thickness of cue tips. Some years ago very large 



tips were used (15 to 16 millimeters), later very small 
tips (10 to 12 millimeters), now most players use a 
medium size tip about 13 millimeters. No. 1 high. 
There are also fancies about the proper height or thick- 
ness of the tip, but a medium thickness about one-half 
the diameter has proved best, because a very thick 
leather cannot be made hard enough to hold its shape 
and a very thin leather does not have enough elasticity 
to take hold of the ball. 

A player with an accurate eye and a good stroke can 
use a somew^hat smaller tip than the average. The 
English game requires smaller* balls and very much 
smaller tips than are used in the United States. The 
tips for the English game are made as small as 9 milli- 
meters. These very small tips and balls need very ac- 
curate hitting and consequently it is better to select a 
fairly large tip rather than a small one. 

A proper shape for the finished tip is shown in Fig. 
1. You will notice that this tip is somewhat round, 
this shape gives a better ball contact or greater holding 
surface than a very flat tip. 




(Fig. 1) 



CHAPTER 11. 
POSITION. 

POSITION at the Billiard table is of much more 
importance than most players realize, because 
a good stroke and accurate hitting cannot be 
developed with a faulty position. Many good players 
are handicapped by a bad position. 

It is difficult to describe a correct position, but with 
the aid of the pictures and the following description, 
the player should be able to correct his faults and as- 
sume a good position. (Photos No. 1, 2 and 3.) 

Stand facing the table and about two feet away 
from the edge, then take a step forward with the left 
foot, then turn the heel of the right foot toward the 
table, in other words, just swing on the ball of the 
right foot, you will then face the table, but with the 
body turned just a shade to the right, so that the 
right hip will not interfere with the swing of the cue. 
Next bend over and place your left hand on the table, 
stretch out well and settle back. If your position is 
correct a plumb line held between your eyes would 
drop right on to your cue (Photo No. 4), otherwise 
your aim will be bad. Brace yourself so that you are 
firm as a rock on both feet. You will then be at ease 

10 



and yet set and steady, so you can execute without 
strain or fatigue. 

The ''open bridge" is easier for most players than the 
**hook finger" bridge and allows a firmer support of 
the bridge hand, because all the finger tips are resting 
on the table and the fingers are well spread. (Photos 
No. 5 and 6.) 

A player should practice to use both styles of bridge 
because they are both necessary to good billiards. 
(Photos No. 7 and 8.) 

It is also good practice to hold the cue in the left 
hand, as this enables the player to make shots that 
would require the use of the ''Artificial Bridge." Some- 
times the artificial bridge is necessary and when using 
it do not elevate the butt of the cue any more than 
w^ould be required to make the shot without the bridge. 

In making your calculations look first at the posi- 
tion of all the balls on the table, then, when you have 
decided w^hat shot you are going to attempt, get in 
position and look at the cue ball, making up your mind 
just where you intend to hit it. Next look at the ob- 
ject balls and decide just how far you intend to move 
them; this will help you judge the strength of stroke. 

Always have in mind the neces_sity of driving one or 
both of the object balls as this will lead out the proper 
force. It does not matter whether you mean to drive 
a ball around the table or drive it a fraction of an inch, 
the rule holds good always to drive the object balls. 

11 




No. 1. Sizing up the shot. 



12 




No. 2. 



Step forward with the left foot, swing on ball of right foot. Notice 
position of the feet. 



13 



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No 3. Reaidy to execute. Notice the easy yet solid position of the whole 
body. 



14 




No. 4. Notice the plumb line, showing the head exactly in line with the 
cue. 



15 



CHAPTER III. 
STROKE. 

THE control of the cue ball depends entirely on 
^^Stroke" — that easy swing with a whip-like 
snap at the finish combined with judgment of 
force that makes the perfect ''Stroke.'' 

Grasp the cue about three or four inches nearer the 
butt than where the cue balances. The first finger and 
thumb should be used to hold the cue firmly at this 
point with the other fingers curled about the cue in an 
easy, natural manner. (Photo No. 3.) In this posi- 
tion the cue can be swung back and forth with ease; 
and in order to develop a pendulum-like swing the cue 
should swing not less than three times and not more 
than six times, before delivering the blow. (Photo No. 
3, showing side view at table.) Then having previously 
made your calculations where you intend to hit the 
ball and how much force you wish to put into the 
stroke, you close your hand as the cue finishes the swing 
forward and deliver a blow that is made without ef- 
fort and yet has a whip-like snap that imparts action 
to the ball. 

In making the swing let the cue stop as near the ball 
as possible without hitting it — one inch is about a safe 

16 



distance. The hand (of the player of average height) 
should swing nine (9) to ten (10) inches. A very tall 
man would develop a longer swing and a very short 
man somewhat shorter swing. Don't make the swing 
too fast, let it move naturally and the weight of the 
cue will determine the speed. Fast motions do not 
make fast players, be deliberate and take plenty of 
time to develop the sw^ing. Most important of all in 
developing a stroke, is to swing the cue back and forth 
in a perfectly straight line, any tendency to wobble or 
swing sidewise is sure to spoil accurate hitting. Imagine 
your cue is in a guide like the piston of an engine. 

In making a ''follow^" shot, the elbow should be 
dropped at the finish of the stroke, else the cue point 
will have a tendency to dip and prevent the cue from 
going straight through the ball. 

Let the weight of the cue do the work and above all 
let the cue follow through the ball. (Drawing B.) 
Position and stroke are so closely allied that they 
should be studied carefully together. 



17 




No. 5. Front view of open bridge. Notice the fingers well spread. 

18 




No. 6, Side view of open bridge. Notice the thumb is touching the first 
finger, knuckles well raised to bring point of cue up for a 
"follow" stroke, 




No. 7. Side view of hook finger bridge. Notice the thumb and first finger. 



19 




No. 8. 



Front view hook jBnger bridge, 
shots, the "draw" especially. 



An excellent bridge for certain 



20 



CHAPTER IV. 
"ENGLISH." 

THE reason for beginning this chapter on "Eng- 
lish" by showing how to hit a ball without 
"English" is because many players are unable 
to hit a ball w^here they intend and hit a ball with "Eng- 
lish," although they thought they were hitting it 
straight. Also many players seen to think that "Eng- 
lish" makes a ball by some "hokus pokus," they do not 
know just what, accomplish things in the way of count- 
ing that would not be possible if the ball was hit 
straight. Few players can hit a ball just where they 
intend and a simple practice shot will show how much 
they miss the spot. 

Place the cue ball only, on the table, right in line 
with the "billiard spot" and within easy reach and 
shoot for the center diamond on the end cushion. 
(Drawing A.) You will be astonished at the dif- 
ficulty of making the ball return exactly in the middle 
of the table. 

This is an excellent practice shot and can be made 
interesting for two players in trying to see w^hich can 
return the ball nearest the center line. 

The harder the stroke the more difficult it becomes 
to hit the ball exactly in the center. Players with an 

21 



exceptionally strong stroke can drive a ball four times 
the length of a table, almost forty feet, but few can 
hit a ball with this amount of strength, and have it 
travel back and forth the length of the table and not 
travel out of a straight line more than about four 
inches. | 

It will readily be seen that with the ability to hit 
ball exactly where you intend, any amount of '^Eng- 
lish" that is possible can be given without danger of 
making a miscue. A good player can give a ball a lot 
of '^English" even with a very gentle stroke because he 
hits it clean and allows his stroke to follow through 
the ball. (Drawing B.) If two players match them- 
selves against each other, trying to give the greatest 
amount of ^'English" without a miscue, the practice 
will be valuable and interesting to both of them. 

^'English" is rotation or spin imparted to a ball by 
hitting it on one side of the center. In order to judge 
how fast a ball is spinning when hit with ''English,'* 
attach a moistened bit of paper to the side of the ball. 
To many players a slow stroke seems to give more 
''English*' to a ball than a fast one, this is because the 
eye cannot follow the quickly moving ball. It is true, 
however, that a very fast ball does not take the same 
angle from the cushion that a slow one does, because 
of yielding of the cushion which allows the fast ball 
to sink in deeper and consequently it comes away 
straighten 

22 




A. Showing set up for practice of accurate hitting. 

23 



Key to Balls Shown on Diagram Drawings 



1 




4 





/ 



\ 



^ 



Before Making the Shot 

Figure Number One — Indicates the cue ball. 
Figure Number Two — The^^rs^ object ball. 
Figure Number Three— The second object ball. 



After the Shot Has Been Made 

Figure Number Four — The cue ball. 
Figure Number Five— The yirs< object ball. 
Figure Number Six— The second object ball. 



24 



Can ''English" be imparted to the object ball by the 
cue ball? It can, but only in a very slight degree and 
this imparted ''English" is always the reverse of that 
of the cue ball. The "English" imparted to the object 
ball, is so slight that no player can see the object ball 
"spin." It is only effective at short distances and when 
the cue ball has been hit with extreme "English" and 
with a good clean follow through stroke. 

The follow^ing line up, kiss shot, is a good example of 
what imparted "English" w^ill do to the object ball. 
(Drawling C. ) In playing shots wnth extreme 'Eng- 
lish" many players lose the correct aim and either miss 
the first object ball or hit it too full. A good way to 
prevent this is to first aim at the center of the cue 
ball and then move the bridge hand either to the 
right or left to make the proper amount of "English." 

In close ball to ball play it is good practice to use a 
"Draw" stroke with "English;" the draw checks the 
spread of the object balls and the "English" prevents 
"freezing," 



25 




C. " English " impartpd to object ball. Must be hit a clean stroke with 
'■ Follow " and "English" or the second object ball will miss the 
" Kiss " with the cue ball. 



26 



CHAPTER V. 
"FOLLOW." 

Ti^HE ''follow" is a most useful stroke and is one 
that few players can execute well, mainly, be- 
cause they do not let the weight of the cue do 
the work, and because they fail to let the cue ''follow" 
through the cue ball w'lxh the cue held level or nearly 
so. (Photos No. 9 and 10.) 

A ball to ''follow" must be hit well above its center, 
this causes the ball to spin or rotate in the direction 
that it is moving and when it hits the first object ball, 
this spin causes it to move the object ball without 
checking hardly at all the speed of the cue ball. 

The point at which the cue ball should strike the 
first object ball is never far from the center and prac- 
tice alone will enable the player to pick this spot. 

A good "follow" at long distance requires accurate 
hitting without any English and with good "follow 
action" on the cue ball. Most players hit with too 
much strength and ruin the position for the next shot 
by driving the first object ball too far. 

Try a "follow" about as set up (Drawing D) and see 
if you can make the shot and leave the balls together. 
You will notice it takes a good clean "follow" through 

27 



"stroke** without much speed, but with lots of "fol- 
low action** on the cue ball so that it will hit the 
second object ball. As players say it must have the 
^'legs/^ 



28 




B. Figure 1 shows short, jerky stroke, not at all effective. Figure 2 shows 
perfect "foiiow" stroke, cue leaves the ball above the center, A= 



29 




No, 9. The two white balls set up side by side to illustrate the necessity 
of letting the cue follow through the ball to get a "follow" action. 





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No, 



10. Same as No 9, only showing the finish of the stroke. The point 
of the cue has followed through about seven (7) inches. 



BO 




D, Showing a set up to practice for a good "follow" stroke. Properly 
executed, this leaves the balls together. 



31 



V t ; 



Q 



---""~-.;a 



H. Showing extreme " Follow" action with lots of "English." 



32 



CHAPTER VI. 
DRAW. 

THERE are many fair players who cannot make 
a ''Draw" shot, and yet this shot is not at all 
difficult when you understand the action of the 
ball. It is a most useful shot and no player can hope 
to make very big runs until he can execute the ''Draw" 
with ease and certainty. 

The action of the cue ball in a "Draw" shot is to 
spin toward the player and to slide in the direction 
that it is struck, and when it strikes the object ball 
and is still spinning toward the player, it recoils because 
its forward motion is stopped and the "spin" working 
against the friction of the cloth, causes it to return. 

The average player is very apt to pull his cue back 
with a jerk, seeming to think he can thereby pull the 
cue ball, but he loses the very efifect he is trying to ac- 
complish, because he does not let the cue follow through 
the ball and give it all the *'spin" possible. 

To illustrate. If you wished to open one of those 
turnstile doors and leave it whirling you would not 
just hit it a tap and withdraw your hand with a jerk, 
no, you would keep on pushing until you were clear 
through and out at the other side — same action applies 

33 



to the stroke with a cue — you must let the cue follow 
through the hall to get action, (Photo No. 11.) 

In making a "Draw'' shot do not attempt to strike 
the cue ball too low, because this will cause the ball 
to jump and may tear the cloth. (Photos No. 12 
and 13.) 

It frequently happens that a ''Draw" shot has to 
be made when the cue ball is on or very near the 
cushion, this makes it necessary to elevate the butt of the 
cue almost to the position for a ''Masse," and yet a 
"Draw" is possible if the object ball is not so far away 
that the cue ball loses its reverse spin before it strikes 
the object ball. (Photo No. 14.) 

A good many players who make a "Draw" shot 
with difficulty seem to think that "English" helps the 
stroke, on the contrary it not only does not help at all, 
but often makes a miscue. It might be well to state 
right here that in making any kind of a shot where ex- 
treme action must be had on the cue ball, that chalk- 
ing the cue tip before making the shot will save many a 
game. A "Draw" with "English" is the best test for 
the quality of chalk or tip. In this shot the ball has 
the least resistance to the tip, and miscues most often 
happen. 



34 




No. 11. Position for a "Draw" shot. 




No. 12. Showing the finish of a " Draw" stroke. Notice the distance the 
cue point has followed through both white balls which were side 
by side at the start. Notice also the cue point is resting on the 
cloth. 



35 




No. 13. Try this "draw" for accurate hitting. All three balls lined up on 
the cushion. Try it on both left hand and right hand cushions^ 
Notice the difficulty of making the cue ball return without roll-' 
ing out from cushion. 



36 




No. 14. " Half Masse." •*Draw" off the red. Much more certain and 
easier to execute than standing on tiptoe to use the regular grip 
on the cue. 



37 



CHAPTER VII. 

MASSE 

(This French word means to rub or pinch.) 

IN billiards the action of the stroke is to pinch the 
ball against the cloth in such a mariner that it 
spins and slides at the same time, similar to a 
''Draw" stroke, except that the cue is held almost 
perpendicular. You will note in the Photos No. 15 
and 16 the way to hold the cue and also the usual 
''Masse" bridge with the tips of the fingers resting 
on the table. The stiff arm bridge (Photo No. 17) 
may be used when the balls are away from the edge 
of the table. This style of bridge is excellent for prac- 
ticing with the cue ball only, as the player can more 
easily see the whole of the cue ball and the part he 
is hitting. He can also get a better knowledge of the 
various angles at which the cue should be held. The 
more nearly vertical the cue is held, the closer the 
"Masse." 

The player should stand firmly on both feet as this 
gives a steady position. Many players seem to think 
it necessary to rise up on their toes or to stand on 

38 



one foot, this causes a strain and is very likely to in- 
terfere with the correct aim. 

The execution of a "Alasse" shot is very difficult to 
describe, but an attempt will be made to show the 
principles and the player will have at least a guide to 
help him in his practice. 

In order to indicate the part of the cue ball to be 
struck I will divide it into quarters and number them 
one, two, three and four. (Drawing E.) Quarter 
No. 1 is always at the left hand as you face the shot 
and is usually the quarter at which the cue is aimed. 
Quarter No. 2 would be struck if the cue ball should 
line up a trifle to the left of the object balls. 

In making the '^Masse" shown in Drawing F, the 
cue is held almost vertical but inclined to the left and 
toward the player slightly. The cue ball is struck in 
No. 1 quarter and about half way between the center 
and edge of the ball. This stroke if properly executed 
w^ill drive the cue ball forward just hitting the first 
object ball, then the spin working against the friction 
of the cloth pulls the ball on a curve just touching 
lightly the second object ball. 

The reason the cue ball makes this curve is because it 
is struck on one side of the center, and is spinning on 
an axis, not perpendicular, but at an angle, depending 
on two factors, one is the angle at which the cue is held 
and the other is the distance away from the center 
which the cue ball is struck. 

39 



Drawing K shows a follow ''Masse," that is, the 
cue ball follows through the first object ball. The cue 
ball strikes the first object ball on the right hand side 
due to the curve and drives it away from the second 
object ball. This shot requires a clean, sharp stroke. 

In all ''Masse" shots a good solid tip is absolutely 
necessary and it's a good rule to chalk the tip carefully 
before each shot so you can feel the tip "bite" the ball. 

The "Masse" stroke is made entirely with the wrist. 
Let the weight of the cue do the work. It is necessary 
to reach up well with the right hand so as to grasp the 
cue at the point where it balances. 

The "Masse" is a most fascinating shot and it is 
worthy of a lot of study because it can be used to great 
advantage in close ball to ball play. 

The angle at which the cue is held has a marked ef- 
fect on the direction of the cue ball. If you will try 
the shot shown in Drawing G with the cue held at 
various angles you will note that the cue ball will 
travel away, or towards the object ball and that in 
order to govern the direction, the cue ball must not 
only be hit in the right spot but the angle of the cue 
must be also correct. Practice, practice, and then prac- 
tice, is the only way to solve the mystery of the 
"Masse." 



40 




No. 15. Position lor iviasse." Notice the bridge hand. 



41 




No. 16. "Masse." Notice that both feet are on the floor. Also notice the 
fingers of the bridge hand showing the brace obtained by spread- 
ing the fingers. 



42 




No 17. Stiff arm " Masse " bridge, excellent for practice work and also 
for certain " Masse'" shots where the regular " Masse "bridge is 
not possible. 



43 




E. Showinpr the ball divided into Quarters, to help explain the Masse'. 



44 




G. Masse' " Follow." 



45 




F. Masse shot. Indicating point to be hit in quarter No, 1, shown by the. 
dot. 

46 



CHAPTER VIII. 
CONTROL OF OBJECT BALLS. 

MANY good players try to accomplish too much 
in controlling both object balls. The ap- 
parent ease with which professionals amass a 
big run, is marvelous. None of the shots are at all dif- 
ficult, just ''spreads," ''drawls" and ^'follows," an oc- 
casional drive to one cushion, all played within a small 
space at one end of the table. It looks so easy you 
wonder if they will ever stop — then they miss a simple 
shot that any novice could make. The reason for miss- 
ing this simple shot is because the player is so intent on 
controlling the balls for the next shot, that he did not 
get quite the effect intended on the shot missed. 

The control of the object balls is what makes it pos- 
sible to make big runs, but don't try to imitate the 
professionals until you have learned some of the funda- 
mental principles of the game. 

Perhaps one of the ball to ball shots that comes up 
most frequently, and one that is important in control- 
ling the first object ball, is what I will call a half ball 
spread, (Drawing I.) To make this shot strike the 
cue ball without any ''English," a little above the center 

47 



so that it will hit the first object ball in such a way 
that the center of the cue ball is in line with the edge 
of the first object ball. In making this half ball shot, 
the force of the cue ball is evenly divided with the 
first object ball so that both cue ball and object ball 
will travel almost exactly the same distance after con- 
tact. (See Drawing J — the Opening Shot.) This half 
ball spread always results in the same angle except 
when made with '^English," **Draw" or extreme force. 

The half ball spread and its variations are of prime 
importance in the control of the first object ball. 

An object ball struck nearer its center than half 
ball, becomes a **follow'' if the cue ball is hit above its 
center, a wider spread if the cue ball is hit below the 
center and a **Dead ball drive" if hit exactly at the 
center or a trifle below. (Drawing K.) 



48 



/ ^ 

I • 




I. Showing the angle the cue ball takes in a half ball spread. 
49 




Dead ball drive. Hit the cue ball a trifle below the center. Aim to 
hit the first object ball a shade to the right of the center. Prop- 
erly executed the cue ball just counts on the second object ball 
and the first object ball is driven to the corner and back, leaving 
excellent position for the next shot. 

50 




The opening shot. Set the cue ball close to the white and use a 
little right hand "English." Properly executed, will leave the 
balls together. Hit the red exactly half ball. 



51 



Established 1894 

WILLIAM A. SPINKS ^ CO. 

Manufacturers of 

Spinks' Billiard Chalk and Spinks' 

Self-Sticker Cue Tips 

Ask us for Free Booklet which tells all about 
" Spinks ' " Billiard Specialities 

362 W. Erie Street, Chicago. 
" The only makers of cue tips in America." 



52 



MAR 23 19H 



LIBRftRY OF CONGRESS 



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